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Conservation of Easel Paintings, Second Edition provides a much-anticipated update to the previous edition, which has come to be known internationally as an invaluable and comprehensive text on the history, philosophy and methods of the treatment of easel paintings. Including 49 chapters written by more than 90 respected authors from around the world, this volume offers the necessary background knowledge in technical art history, artists’ materials and scientific methods of examination and documentation. Later sections of the book provide information about the varying approaches and methods for treatment and issues of preventive conservation, as well as valuable reflections on storage, shipping, and exhibition. Including exciting developments that have taken place since the last edition was published, the book also covers new techniques of examination, especially MacroXRF scanning and Reflectance Transmission Imagery. Drawing on research presented at recent professional conferences, information about innovative methods for cleaning modern and contemporary paintings and insights into modern oil paints is also included. Incorporating the latest regulations and understanding of health and safety practices and integrating theory with practice throughout, Conservation of Easel Paintings, Second Edition will continue to be an indispensable reference for practicing conservators. It will also be an essential resource for students taking conservation courses around the world.
Conservation of Easel Paintings is the first comprehensive text on the history, philosophy, and methods of treatment of easel paintings that combines both theory with practice. With contributions from an international group of experts and interviews with important artists, this volume provides an all-encompassing guide to necessary background knowledge in technical art history, artists' materials, scientific methods of examination and documentation, with sections that present varying approaches and methods for treatment, including consolidation, lining, cleaning, retouching, and varnishing. The book concludes with a section featuring issues of preventive conservation, storage, shipping, exhibition, lighting, safety issues, and public outreach. Conservation of Easel Paintings is a crucial resource in the training of conservation students and will provide generations of practicing paintings conservators and interested art historians, curators, directors, collectors, dealers, artists, and students of art and art history with invaluable information and guidance.
This volume presents the proceedings of an international symposium organized by the Getty Conservation Institute and the J. Paul Getty Museum. The first conference of its kind in twenty years, the symposium assembled an international group of conservators of painted panels, and gave them the opportunity to discuss their philosophies and share their work methods. Illustrated in color throughout, this volume presents thirty-one papers grouped into four topic areas: Wood Science and Technology, History of Panel-Manufacturing Techniques, History of the Structural Conservation of Panel Paintings, and Current Approaches to the Structural Conservation of Panel Paintings.
This is a comprehensive guidebook to the fascinating aspects of the conservation and restoration of paintings. It explains clearly what happens in dealing with the confusing and multilayered problems encountered. The author discusses basic techniques, materials used in both the original paintings and in restoration, chemical formulas, the equipment and methods of handling and storage; he shows how many common pitfalls can be avoided, and offers other tips based on 30 years of experience. There are chapters on the Restorer and the Studio; Construction of Paintings; Technique of Painting; Renovation and Repair; and a bibliography, glossary and index. Eleven line drawings illustrate restoration techniques and the assembly of components.
Describes steps necessary for the preservation of paintings, including the supports, paint layer, and varnish layer. Outlines both traditional and contemporary techniques.
Artists’ oil paints have become increasingly complex and diverse in the 20th Century, applied by artists in a variety of ways. This has led to a number of issues that pose increasing difficulties to conservators and collection keepers. A deeper knowledge of the artists’ intent as well as processes associated with material changes in paintings is important to conservation, which is almost always a compromise between material preservation and aesthetics. This volume represents 46 peer-reviewed papers presented at the Conference of Modern Oil Paints held in Amsterdam in 2018. The book contains a compilation of articles on oil paints and paintings in the 20th Century, partly presenting the outcome of the European JPI project ‘Cleaning of Modern Oil Paints’. It is also a follow-up on ‘Issues in Contemporary Oil Paint’ (Springer, 2014). The chapters cover a range of themes and topics such as: patents and paint manufacturing in the 20th Century; characterization of modern-contemporary oil paints and paint surfaces; artists’ materials and techniques; the artists’ voice and influence on perception of curators, conservators and scientists; model studies on paint degradation and long term stability; approaches to conservation of oil paintings; practical surface treatment and display. The book will help conservators and curators recognise problems and interpret visual changes on paintings, which in turn give a more solid basis for decisions on the treatment of these paintings.
Radiography is a technique that has been employed in the study of paintings for more than a century. The history of this method of analysis indicates that its development has been modest since the 1960s, as its use has been limited to reductive approaches that take into account no more than the immediately intelligible signs. By systematically considering the physical mechanisms involved in the creation of an image, this volume seeks to demonstrate that we can access new fields of radiological analysis by identifying two categories of 'signs': those that may be obvious but whose meaning is misleading, and those which are not immediately comprehensible. This study has been primarily based on a thorough and essential reviewing of current literature concerning the materials and processes used for the making of paintings. The semiological analysis is based on the understanding of the physical phenomena occurring in the formation of the image, and on correlations between the radiographic images of a painting and the information stemming from its observation, other scientific results, and the restoration reports. Furthermore, a number of experiments were conducted to consolidate certain assumptions regarding image-formation mechanisms. Ultimately, this book hopes to show how data resulting from radiographic analysis can be seen and set in a broader context of information on a specific work or a group of works, in order to enrich our knowledge of art history, history of technology, and conservation as well as restoration. Elisabeth Ravaud is a doctor of medicine, specialised in radiology and scientific imaging and has defended a PhD in Art history. She has been working at the charge of studies and research on easel paintings. She works more particularly on the contribution of scientific imaging to the knowledge and conservation of European easel paintings from the 11th to the early 20th century. Her skills in all techniques or analysis used to study paintings, in xylology, in art history, in history of painting techniques and conservation, allow her a multi and interdisciplinary approach that is particularly valuable in the scientific expertise of easel paintings. She has studied the paintings of numerous artists including Giotto, Leonardo da Vinci, Jean Cousin, Nicolas Poussin, Georges de La Tour, Vincent Van Gogh... Elisabeth Ravaud also coordinated the ICOM-CC Painting Group from 2014 to 2020. The 'Centre de Recherche et de Restauration des Musees de France' (C2RMF) The C2RMF is a Department with national competence of the Ministry of Culture. It has two main missions: scientific research, centred on the knowledge of artworks from French museums in particular their original materials, and conservation/restoration of these works, carried out in its conservation studios in Paris and Versailles or by scientific support on site. Its particularity is to bring together in the same place, around the works, the combined views and skills of art historians, physicists, chemists, curators, archaeologists, restorers, photographers, documentalists, administrators and technicians. The C2RMF is aimed at the 1220 labelled "museums of France". It benefits from the support of the Ministry of Research, thanks to collaborations with the National Centre for Scientific Research (CNRS), as well as from the European Community through transnational projects.
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
The function of the painted wooden object ranges from the practical to the profound. These objects may perform utilitarian tasks, convey artistic whimsy, connote noble aspirations, and embody the highest spiritual expressions. This volume, illustrated in color throughout, presents the proceedings of a conference organized by the Wooden Artifacts Group of the American Institute for Conservation of Historic and Artistic Works (AIC) and held in November 1994 at the Colonial Williamsburg Foundation in Williamsburg, Virginia. The book includes 40 articles that explore the history and conservation of a wide range of painted wooden objects, from polychrome sculpture and altarpieces to carousel horses, tobacconist figures, Native American totems, Victorian garden furniture, French cabinets, architectural elements, and horse-drawn carriages. Contributors include Ian C. Bristow, an architect and historic-building consultant in London; Myriam Serck-Dewaide, head of the Sculpture Workshop, Institut Royal du Patrimoine Artistique, Brussels; and Frances Gruber Safford, associate curator of American decorative arts at the Metropolitan Museum of Art in New York. A broad range of professionals—including art historians, curators, scientists, and conservators—will be interested in this volume and in the multidisciplinary nature of its articles.